Gluck: Iphigénie en Tauride / Thomas Hengelbrock

POSTPONED: Gluck: Iphigénie en Tauride / Thomas Hengelbrock

For organisational reasons, this concert will have to be postponed by one season, until 3 May 2025. Ticket buyers will be informed by e-mail. Under the following link you can request a refund of your ticket price: Information on tickets refunds Thomas Hengelbrock has long been one of the leading lights of the European music scene with his synthesis of historic performing practice and energetic music-making. For the lead role in his concert performance of Christoph Willibald Gluck’s captivating opera »Iphigénie en Tauride«, he has invited one of today’s most moving soprano voices to come to Hamburg: Carolina López Moreno. Gluck turned against the virtuoso excesses of Baroque opera with pared-down works concentrating on an absorbing depiction of the plot. He used the classical story of »Iphigénie en Tauride« for finely-drawn character studies that call for a high level of differentiation from all members of the cast. An ideal piece for Hengelbrock to work his magic on. Together with his top-class Balthasar Neumann ensembles and an excellent soloists’ line-up, he makes the audience’s hearts beat faster with superb playing and singing, and intense drama.

Beethoven: Missa solemnis / Thomas Hengelbrock

Ludwig van Beethoven’s »Missa solemnis« is a superlative work. The technical and physical demands on the orchestra and choir as well as the conductors, who must be experienced in both fields, are tremendous – which almost predestines Thomas Hengelbrock, and his intimately familiar Balthasar Neumann Choir and Orchestra he established, for this performance. The performers are assisted by an acoustically powerful line-up of top-class soloists. »From the heart – may it return to the heart« noted Beethoven about the score of his »Missa solemnis« and considered it »the most successful of his creations«. It is the most personal confrontation with his faith and translates an understanding of God shaped by enlightenment and humanism into music. Not by chance, for instance, did it emerge at the same time as his famous Symphony No. 9 with its »Ode to Joy« – and, like this, is a plea to humanity.

Balthasar Neumann Choir & Orchestra / Thomas Hengelbrock

Coincidence or fate? No other work in music history allows this question to be discussed as emotionally as Mozart’s unfinished Requiem. Mozart died at the age of just 35 while composing the requiem mass – what sounds like the stuff of a great tragedy is a reality. But despite all the legends, one thing remains above all: Mozart’s music, which is probably one of the most moving settings of the liturgical requiem text. The wrath of God, human grief, fear and hope – Thomas Hengelbrock and his ensembles are exactly the right cast to bring all the emotions of the music to the stage. Hengelbrock precedes the famous dirge with the early Bach cantata »Christ lag in Todesbanden«. The composer was probably applying for his first organist’s post with this cantata and proves that he had mastered all the rules of the art. Following the old form of the choral cantata, the choir takes centre stage and sings movingly and powerfully about the resurrection of Jesus at Easter. In the version from 1724, Bach added a cornett and three trombones to the orchestra, providing even more goosebump-inducing moments. Death and resurrection – these central themes of Christianity are perfectly suited to the time around the last Sunday before Advent (Sunday in commemoration of the dead) at the end of November. On period instruments and with their characteristic tonal fusion between choir and orchestra, the Balthasar Neumann Choir and Orchestra, complemented by outstanding vocal soloists for Mozart’s Requiem, trace the spirituality of the overwhelming music.

Thomas Hengelbrock & Brahms 1 & 2

Unfortunately, Herbert Blomstedt had to cancel his Brahms cycle due to illness. Now we will experience the complete programme of the four symphonies with two different guests on the podium. Thomas Hengelbrock, who has already realised many exciting programmes with the BRSO, will conduct the first part with Symphonies No. 1 and No. 2. Brahms’ struggle for his first symphonic work, which the scrupulous composer only presented to the public at the age of 43, is legendary. In line with the high expectations, Brahms finally presented a monumental work with a serious, pathetically coloured mood with his C minor Symphony. After that the Second Symphony in D major followed just one year later, which has a completely different character: Due to its cheerful, idyllic tone, it was also referred to as Brahms’ “Pastoral”.

Thomas Hengelbrock & Brahms 1 & 2

Unfortunately, Herbert Blomstedt had to cancel his Brahms cycle due to illness. Now we will experience the complete programme of the four symphonies with two different guests on the podium. Thomas Hengelbrock, who has already realised many exciting programmes with the BRSO, will conduct the first part with Symphonies No. 1 and No. 2. Brahms’ struggle for his first symphonic work, which the scrupulous composer only presented to the public at the age of 43, is legendary. In line with the high expectations, Brahms finally presented a monumental work with a serious, pathetically coloured mood with his C minor Symphony. After that the Second Symphony in D major followed just one year later, which has a completely different character: Due to its cheerful, idyllic tone, it was also referred to as Brahms’ “Pastoral”.

Thomas Hengelbrock & Brahms 1 & 2

Unfortunately, Herbert Blomstedt had to cancel his Brahms cycle due to illness. Now we will experience the complete programme of the four symphonies with two different guests on the podium. Thomas Hengelbrock, who has already realised many exciting programmes with the BRSO, will conduct the first part with Symphonies No. 1 and No. 2. Brahms’ struggle for his first symphonic work, which the scrupulous composer only presented to the public at the age of 43, is legendary. In line with the high expectations, Brahms finally presented a monumental work with a serious, pathetically coloured mood with his C minor Symphony. After that the Second Symphony in D major followed just one year later, which has a completely different character: Due to its cheerful, idyllic tone, it was also referred to as Brahms’ “Pastoral”.

Gluck: Orfeo ed Euridice / Cecilia Bartoli

With a voice whose beauty, range and agility seem to know no bounds, Cecilia Bartoli is one of the undisputed world leaders in singing. She also has an almost magnetic stage presence and a charisma that not only thrills classical music fans. No wonder she enjoys a legendary reputation, especially on the opera stage. In addition to Bartoli’s stage career, the mezzo-soprano also devotes herself time and again to special projects. She brings one of these to the Elbphilharmonie for ProArte: Christoph Willibald Gluck’s grandiose opera »Orfeo ed Euridice« in a rarely performed later version. At her side: the Musiciens du Prince of the Opéra de Monte-Carlo under the direction of Gianluca Capuano and the outstanding choir Il Canto di Orfeo. A feast for the eyes and ears guaranteed!

Thomas Hengelbrock, Balthasar-Neumann-Chor & -Orchester

Beethoven's 9th Symphony and Missa Solemnis are monumental compositions. The Missa Solemnis, commissioned for Archduke Rudolph's enthronement, became a deeply personal exploration of faith for Beethoven. Its scale and complexity exceeded its original purpose, making it suitable for concert halls rather than solely churches. The Balthasar-Neumann Ensemble, known for their Freiburg performances, will tackle this challenging work under Thomas Hengelbrock's direction, featuring a renowned soloist quartet including Gabriel Rollinson replacing Domen Krizaj.

Atelier en famille - Boléro - En rythme

Boléro - En rythme

Everyone is invited to keep up the tempo with this concert that's as rich as it is unbridled! A joyful introduction to rhythm and movement thanks to musicians from the Orchestre de Paris, the Youth Choir and body percussion.